Portrait of Jamini Roy (1887 – 1972)

Artist Gopal Ghosh (1913 – 1980)

dated 1954, Ink on paper
7.1 x 6.3 in. (18 x 16 cm.)

The two spontaneous line sketches by Gopal Ghosh, capturing the visages of Jamini Roy and Nandalal Bose, stand as an intimate visual testaments to the cultural camaraderie of Santiniketan in the mid-20th century. Both works, executed in 1954, are inscribed and signed by the artist and the sitters themselves-highlighting the mutual respect among the three titans of Indian modern art.

Jamini Roy, a pioneer of modern Indian painting, was one of the earliest artists to turn away from Western academic realism and embrace indigenous folk traditions. Influenced deeply by the Kalighat style and Bengal’s rural idioms, Roy developed a distinctive visual language. It was marked by bold lines, flat colour, and stylized figures. His subjects—ranging from Santhal dancers to scenes from epics—celebrated the vitality of village life. Roy’s vision was to create art that was accessible, rooted in Indian ethos, and independent of colonial aesthetic standards.

Nandalal Bose (1882–1966), a key disciple of Abanindranath Tagore and later the principal of Kala Bhavana, Santiniketan, played a pivotal role in the Bengal School movement. His work synthesized traditional Indian art forms with nationalist sentiment and contextual modernity. Bose’s murals, wash paintings, and linocuts, inspired by Ajanta frescoes and Far Eastern ink traditions, were both lyrical and philosophical. As a cultural educator, his impact extended far beyond his own canvases—shaping generations of artists and establishing Santiniketan as a cradle of modern Indian art.

Gopal Ghosh, the artist behind these portraits, was a vital member of the Calcutta Group and known for his bold landscapes and expressive watercolours. While he is celebrated for his vibrant treatment of nature and everyday life, Ghosh also had a rare gift for spontaneous portraiture. These line drawings—minimal yet evocative—capture not just the physical likeness but the aura of his sitters. The fact that both Jamini Roy and Nandalal Bose signed their respective portraits speaks volumes of their appreciation for Ghosh’s gesture and artistic prowess.

Together, these portraits are more than sketches; they are fragments of history. They encapsulate a moment when the paths of three legendary minds intersected—anchored in Santiniketan, the heart of India’s cultural renaissance.